Page 136 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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piece was highly reminiscent of the archaic smile of a kouros, “The expression of the

figure bears the most characteristique (sic) type of the Wei dynasty with an indescrible

286
(sic) sweet smile of contemplation, of great dignity and purety (sic.) of mind.”

Sculpture in the Sui dynasty, moving toward naturalism and three-dimensionality, was

seen as an important transition from archaic period to classical period. David Percival

commented on the colossal Sui marble statue that Loo loaned to the International

Exhibition of Chinese Art in London (Fig. 39), “…the archaic conventions of the Wei

manner are being gradually abandoned and the modelling tends to become more

naturalistic. The figure is slim and tall, the drapery is simplified, almost to the point of

severity. The face has become smaller and more round, and a rapt child-like expression

has replaced the enigmatic smile of the Yun-kang figure.” (Percival 1935, 176) Loo’s

1940 catalogue An Exhibition of Chinese Stone Sculptures observed the features of the

Sui sculptures, “It has not yet fully discovered nature, but it has learned that such an

organic form as a leg can be forcefully interpreted by such an architectural form as a

column.” (C. T. Loo and Company 1940a)

In Loo’s art historical map, Tang sculpture, characterized by naturalism and three-

dimensionality, represented the classical period of Chinese sculpture. Loo’s 1940

catalogue An Exhibition of Chinese Stone Sculptures stated, “In this evolution, T’ang

sculpture is a logical summation. At the beginning of the period, an understanding of

286 C. T. Loo to J.E. Lodge, February 16, 1922, folder: Lai-Yuan Co., box: Unofficial
Correspondence L, 1910-1922, AAOA-MFA.